One of the most surprising aspects, as penned by Jackie Stacey (1985), is the look back into the Desert Hearts mainly from a vantage perspective of the 1990s and realizing that it does not justify to be one of the lines of the popular lesbian and romance films that has a happy ending. Sadly, for this piece, the author establishes that the continuity to stand out remains significant isolation that is practically befitting the contemporary films. As presented in the reading, one of the emerging themes is that of lesbian, queer theory in establishing the heteronormativity of a rarely conceptualized and explicit theme.
Given that lesbianism queer theories as encompassed in the term heteronormativity, the concept mainly details the considerations and views that heterosexuality remains a normal and natural aspect for individuals within a society. However, heteronormativity remains a factor that may never be achieved; hence, the authors believe that heteronormative companies are often forced to sustain heteronormativity as its political projects (Stacey 207). In this regard, heteronormativity includes injunctions that people should only be heterosexuals. Another essential aspect of heteronormativity lies in the epistemological views that it shapes that individuals are known and what they know.
In Stacey’s (1985) views, the features of films regarding lesbians are exclusively a form of Hollywood’s prerogative. This, in my opinion, therefore established the outlawed status of such conditions of the film as evidence in the personification of the characters. As revealed in the reading, the context seems hard to commence as the Desert Menu chapters are Hollywood-styled fantasies that are transformative in providing accounts of lesbian romance. Therefore, this reveals the risks that are prone to becoming romantic and establishing a downright to a lesbian postmodernist.
Works Cited
Jackie, Stacey. If you Don’t’ Play, You Can’t Win. Desert Hearts and the Lesbian Romance Film.1985., p.207-212
